Musichttps://encyclotronic.com/music/Electronic Music archive of old and new releases.enhttps://encyclotronic.com/music/ambient/the-lighthouse-by-fiesel-hertz-r736/

Christian Fiesel and Jack Hertz take to the seas on their latest release. The Lighthouse is a beacon that shows the way along the coastline. Get on board an ever changing journey to someplace else. In an exploration of beaches, mountains, ports and faraway places between land and sea.

These tracks were designed to be played in random (shuffled) order to create a continuous stream of randomly changing landscapes. Please play the files or CD on random for best listening.

Bülent Arel's (1919 Turkey - 1990 USA) work occupies a special place in the history of electronic music because one thing is certain: Arel's work is still fresh, groundbreaking, and it seems always to look out for the next adventure in sound.

Bülent Arel was a Turkish-born American composer of electronic and contemporary classical music. He was also a devoted teacher, a sculptor, and a painter. From 1940 until 1947 Arel studied composition, piano, and 20th century classical music at the Ankara Conservatory. In 1959 Arel came to the U.S. on a grant by the Rockefeller Foundation to work at the Columbia-Princeton Electronic Music Center. By that time the center had just started out under its director Vladimir Ussachevsky.

During Arel's work in Princeton he also met Edgard Varèse with whom in 1962 he worked on the electronic sections of Varèse's 'Déserts'. Frank Zappa lists Arel as a key influence. Today's electronic music - may it be by Autechre's 'Confield', Aphex Twin's 'Selected Ambient Works Vol. II', or Squarepusher's 'Do you know Squarepusher' - builds upon a solid foundation which Bülent Arel helped to pave.

In 1950, the Columbia University Music Department requisitioned a tape recorder to use in teaching and for recording concerts. In 1951, the first tape recorder arrived, an Ampex 400, and Vladimir Ussachevsky, then a junior faculty member, was assigned a job that no one else wanted: the care of the tape recorder. This job was to have important consequences for Ussachevsky and the medium he developed. Electronic music was born. Over the next ten years, Ussachevsky and his collaborators established the Columbia-Princeton Electronic Music Center, which Ussachevsky directed for twenty years. It was the first large electronic music center in the United States, thanks to the path-breaking support of the Rockefeller Foundation and encouragement from two of the country’s leading universities. The Center became one of the best-known and most prolific sources of electronic music in the world. All of the music on this historic reissue (originally released on CRI CD 611) is the result of the pioneering work of the Center and its composers. The guest composers and Columbia-associated composers who have produced pieces at the Center include Bülent Arel, Luciano Berio, Mario Davidovsky, Jacob Druckman, Arthur Kreiger, Daria Semegen, Pril Smiley, and Edgard Varèse. Ussachevsky’s own students at the Center included Jon Appleton, Wendy Carlos, Charles Dodge, Robert Moog, Alice Shields, Harvey Sollberger, and Charles Wuorinen. Of the seven composers most closely associated with the Center from its early years, six are present on this disc.

"Indigo dreams" is an homage to the people that Steve Shehan had encountered in his travels around the world and also to the great authors, painters and sculptors from the past, present and even the possible future. It is a kaleidoscope of dreams and impressions, each related to an experience from his life's journey.

Aural Films returns to the Forbidden Planet for our annual Halloween release. We called on sound artists to imagine it was 1956 and record a Krell Music composition to be used at any point in the "Forbidden Planet" film. More than 25 artists from around the world responded with their fantastic creations that you can hear now.

I am pleased to present this set that I recorded and mixed in the summer of 2018 for the Skazka-5 festival. I tried to combine different sides of EugeneKha's music in this program, that's why there was a place for cosmic atmosphere, ethnic violins and rhythms, groove downtempo, and Berlin School sequences in this album. I tried to combine all this into a harmonious, consistent fairy tale story. I hope I succeeded. I hope this album will allow you to make a magical journey with me.

The third album of Elemental Noise leads us in the intangible world of particles.
Strange ethereal pads, delicate cascades of notes, hypnotic waves, live interlaced sequences and a real Orchestra shape the ambient matter towards a sonic alchemy.

Elemental Noise shows again his mastership in sound design and his ability to blend orchestral parts with experimental electronic music.

Recorded and mixed in 1999-2000, Paris, France.
Basic tracks recorded at Flipper The Dog Studio.
Orchestral parts on track 4 recorded at Intercontinental Studio.

Track 9 recorded live during the total eclipse of the sun, the 11 of August 1999.

The idea of making an album in an "old school electronic" spirit with only one venerable EMS VCS3 had been tempting me for years. But I wanted to push the concept further by rebuilding a 70's home-studio, deliberately limiting the technical possibilities.
If I easily found the VCS3 and the tape recorders, borrowed from "old" friends, the effects I wanted were harder to find. After a few weeks of searches, a London collector, friend of an "old" friend, sent me the machines I was looking for.
It was a real pleasure to do "The Zinovieff Synthdrome", with the strong impression of a "return to the past"...

Album recorded in June and July 2018 at Studio du Coin Cornu, Ville des Carnutes, France.
Digital transfer and mastering at Scoz, Cœur de Beauce, France.
Photos and photo-montages by Ironside.
Sleeve design by Graph'Hypnotic.

Walt Thisney selects and mixes music for the mind and body in the same quantities that emerges from encounters between the past and the present, drawing beauty of the commonplace, wiping, polishing it, giving it life again, so to produce the same effect of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects.

My first major work of electronic music was from 1976. This was composed using a large Moog Series III synthesizer and two 4-channel tape recorders. For several years, up to 1981, my work in electronic music used this setup or a similar system often augmented by the ARP 2600 or Synthi AKS and other tools found at the various studios in which I was working. This particular early composition objet d’art is a long-form work, more than an hour in duration and in five large sections or movements. The original recording still exists, but it has not yet been restored and is not commercially available.

Since that time, I have often returned to the long-form conception for music of this type – modernist, experimental electronic music. The obvious parallel is instrumental symphonic music - music of large-scale extension, depth and development. Originally, my inspirations were drawn from progressive rock – Thick as Brick, Close to the Edge, Supper’s Ready – and distinctly the work of numerous modern electronic groups and composers (such as Tangerine Dream and Morton Subotnick) who have often worked with forms of symphonic proportions.

An earlier work of this type is The Strong Eye, composed and recorded in 1991 at the studios of the Danish Institute of Electroacoustic Music. This earlier recording, a suite of nine movements, combines the transformation of acoustic sounds (instrumental performances of flute, piano, ‘cello, percussion, and vocal sounds) with environmental sounds and purely synthetic sounds created in various ways including frequency modulation, and analysis-based additive synthesis and physical modeling. The blending of the acoustic and the synthetic – the real and the imaginary – has been a guiding idea of a number of my works of this type.

Numerous other long-form works are available on recordings including Solace (2012), De-Re-Construction (2015), Paradise Garden of Shiramizu Amidado (2015), Grey Blanket Drops and the World Reduced to Arm’s Length (2014), Precession (2014) and Parasympathetic Music (2013) among others.

Phonotopological is comprised of 13 large sections created from 125 complex sub-elements. Each one of these sub-elements, themselves created from a number of individual sound sources, is used only once in the work. Relatively continuous in sound, the composition has a clear formal design of contrast and internal development.

From a technical point of view, the work could best be described as acousmatic. Sound elements are often obscured from their acoustic origins due to significant transformational processing and re-contextualization. All of the sound sources are originally acoustic, and some of these sources are elaborated with resonance filtering techniques that imbue them with an electronic sonic tinting. While the work is created in stereo, many of the elements are spatialized on both moving sound paths and in static positions using ambisonic techniques. Tools used include Metasynth, Csound, Trajectory, Sound Particles, and Spat Revolution, among others.

Anantakara is a belgium based contemplative art music creator, a Live mystic soundscaping improvisator inspired by the caress of Beauty and
the improbable frontier of infinity, Composer of delicate sonic calligraphics: Original, Joyful and aethereal fit for immersive and introspective journey.
"The Never Dying Fire" album is about exploring mysterious and atmospheric sonic landscapes from some in-between faboulus worlds
Slow multi layered Cycles Electronic Sonic Exposure instruments: waterphone,santur, bazantar, mutating electronics,

Walt Thisney selects and mixes music for the mind and body in the same quantities that emerges from encounters between the past and the present, drawing beauty of the commonplace, wiping, polishing it, giving it life again, so to produce the same effect of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects.

"Walt Thisney selects and mixes music for the mind and body in the same quantities that emerges from encounters between the past and the present, drawing beauty of the commonplace, wiping, polishing it, giving it life again, so to produce the same effect of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects."

"Walt Thisney selects and mixes music for the mind and body in the same quantities that emerges from encounters between the past and the present, drawing beauty of the commonplace, wiping, polishing it, giving it life again, so to produce the same effect of the original freshness and spontaneity, a mirror that transforms it absorbs and reflects."